1)Hurston’s opening paragraph in “How it Feels to Be Colored Me” functions as a joke that aims to lessen the stigma around discussing race in the 1920s. The phrase “extenuating circumstances” is defined as lessening the seriousness of a situation and therefore reducing any consequence that may emerge from her controversial stance. Hurston’s assertion that her “grandfather on the mother’s side was not an Indian chief” is intended to bring humor to the African American tendency to claim Native American ancestry in order to raise their social status. Her sarcastic juxtaposition of accepting her color versus colored people distancing themselves from it creates a colloquial tone that illustrates her defiance of social stigmas and norms. This biting opening paragraph intrigues the reader and allows her audience to grasp the overall purpose of the
In "How It Feels to Be Colored Me," Zora Neale Hurston portrays her encounters as an African American lady in early 20th Century America. She portrays individuals as diverse colored packs, all of which are filled with the illogical bits of things that make up life. Greatest of Hurston 's effort included her "Negro" description that were so honest to genuineness, that she was identified as an prodigious anthropologist, "Being an anthropologist and as an Black-American novelist amid the Harlem Revitalization, Hurston was surprisingly arranged to examine the basic imaginable consequences of minimalness. Raised in an all-black civic in Florida, Hurston didn’t have much motive to consider her race up to she left family at age thirteen years to go to rooming school in Jacksonville. In the town of Eatonville, her hometown, Hurston was, “everyone’s Zora,” but once she got to Jacksonville, her ethnic group was no longer imperceptible to her, because the municipality was more varied, “I was not Zora of Orange County any more, I was now a little colored girl.”
Life is time intervals of change that move each and every person with each passing moment, and reflect the world around us. Literature frequently reflects the culture along with the emotions and feelings of the environment and people around us. The novel, Their Eyes Were Watching God, by Zora Neale Hurston, takes us through the life of Janie Crawford, a black woman in the early 1900’s, and her journey for love and identity through three different marriages. Janie’s different experiences and what goes on around her reflects how Zora Neale Hurston’s writing is both a reflection and departure from the ideas of the Harlem Renaissance, from the influence of slavery, and the re-emergence of stereotypes, respectively. The Harlem Renaissance was
“I know where I'm going and I know the truth, and I don't have to be what you want me to be. I'm free to be what I want”-Muhammad Ali (brainyquotes). In Their Eyes Were Watching God by Zora Neale Hurston, Janie's growth from a young girl without an identity, not knowing her own race, to a woman strong enough to return to her hometown of Eatonville allows her to discover who she is and how she has the power to change her own life. Zora Neale Hurston's Their Eyes Were Watching God shows that the only way to achieve fulfillment is to ignore society's control and concentrate on one's own desires, while avoiding selfishness. This is revealed as Janie moves through abusive relationships to one which finally allows her room for her own thoughts and
The United States Constitution states that the country values liberty, life, and happiness for all of its citizens. These three values shape the ideal American experience. Most view it as living freely, where all men, women, and races are created equal, and where oppression of genders and races does not exist. In the novel Their Eyes Were Watching God, however, Zora Neale Hurston challenges the traditional view of this experience by illustrating how gender roles and racism change it, manifesting that it is not close to what the average citizen goes through, especially if he or she is black.
Zora Neale Hurston was a black female, born in 1891. She is the author of a very well known novel, Their Eyes Were Watching God. During the Harlem Renaissance, she lived in a town called Eatonville, Florida. Through the novel, Zora Hurston indirectly tells you the story of her youth and early adulthood through various different characters. The reader is able to become familiar with the struggles that she encountered in the South during the Harlem Renaissance, but they are also able to understand that she was able to overcome each one of these obstacles.
Zora Neale Hurston was an African American writer acknowledged for her short stories, being a folklorist, and an anthropologist. Hurston was born in Notasulga, Alabama, on January 7, 1891. She was daughter to two former slaves. “At the age of three her family moved to Eatonville, Florida.” (manythings.org).
It is not surprising, that Hurston’s still burgeoning knowledge of Voodoo is a major influence in the novel, particularly on her conception of human relationships with nature. Hurston employs this Voodoo-influenced view of nature in the novel in order to challenge and revise the traditionally limited and static gender and racial roles of the early twentieth-century south. Nature/woman is subordinated to culture/man in the traditional pastoral equation, and this opposition installs males as the protectors of both the improved garden and the women of the plantation. Hurston’s Voodoo-influenced conception of nature contributes to her revision of the male-dominated pastoral tradition in Southern literature by identifying her female protagonist
Like other Southern women authors of the early twentieth century, Hurston does not categorically reject the association of women and nature, but reconstructs that bond as empowering and active in contrast to the passive identification with the tamed nature of the pastoral garden. In Their Eyes , one important way that Hurston counters the pastoral ideal of the middle landscape is by incorporating elements of Afro-Caribbean Voodoo that undermine the initial separation of humans and nature on which the pastoral myth depends. Replacing the polarized categories of culture/nature, male/female, and subject/object with a more fluid, relative, and interdependent model, Hurston envisions a more egalitarian society of communal values free from the ideology of dominance that characterizes the masculine gaze on a feminized landscape of the male pastoral tradition. She also suggests in her best-known novel that the acquisitive values of white-dominated society fosters an alienating conception of nature as something distinctly “other” estranging people from a natural world regarded as little more than an amalgamation of commodities.
Zoe Wicomb’s novel, Playing in the Light (2006), is set in the 1990s in Cape Town, South Africa, post apartheid. The novel revolves around Marion, the protagonist, and her intricate relationship with Brenda, the first person of color she has ever employed at her travel agency business. This post apartheid novel offers interesting and an insightful viewpoint of South Africa following the fall of apartheid. By analyzing the passages in this novel, one will be able to better understand race in the context of South Africa.
Zora Neale Hurston was a famous American novelist, active during the Harlem Renaissance era. A talented short story writer, folklorist and anthropologist , Hurston wrote four novels and published 50 short stories. Zora Hurston was best known for her 1937 novel called, "Their Eyes Were Watching God". Zora Neale Hurston was born on January 7, 1891 in Notasulga Alabama, Hurston denies being born in 1891, and claims she was born in 1901.
The ethnographies of Zora Neale Hurstson's Of Mules and Men and that of the Clifford Geertz's Balinese Cockfight contrast significantly in their writings. They contrast in that they differ in their ethnographic approach, what or who they are observing and their judgements placed on those they are observing. The narrative voice remains the same between the two Anthropologist's writing but seems to be the only thing. Hurstons's Of Mules and Men made great contributions to African American culture as we know if today. She focusses her ethnography on African American folklore of the time in the 1930s.